Hassan Hakmoun: Life Around the World (Alula)

I have to confess I know little of this Moroccan singer, but Peter Gabriel, who knows a thing or two about world music, is positively effusive: "He has a fantastic way of blending his Moroccan roots with a variety of Western and African styles to produce music that is fresh, modern yet familiar." He plays in the Gnawan tradition, sending himself into a trance as he accompanies himself on the sintir, a three-stringed, long-necked lute. These tracks are live recordings featuring a number of Western musicians; the music is typically North African, both reflective and frenzied, rising to pitches of excitement as on the percussive Chabakouni 1, but though it is something of an acquired taste, its repetitive energy can lure you under its rhythmic spell. Joe Breen

The Tannahill Weavers: "Epona" (Green Linnet)

This Edinburgh five-piece make a pretty drowsy unison on the old Gaelic tunes, until somebody pulls out the bagpipes and they're away rattling your head with the electrifying dirge of ornamentation. But the beefiest pleasure here is the genuine-article Scotsy renditions of the songs, with their great chest-vibrator harmonies: the shepherd's coort of When The Kye Come Hame; the place-lament of Keen Blaws The Win' O'er The Braes Of Glennifer; or the proud Glasgae labourer's anthem of The Great Ships. For the English, the Americans and the hard of understanding, a full glossary is provided, but for an Irish ear, this is enormously familiar territory, and after tapping your foot a wee bit, you'll be glad to get back hame. Mic Moroney

Peadar O Ceannabhain: "Mo Chuid den tSaol" (Clo Iar-Chonnachta)

There's a forlorn ould sound to the naked sean nos of this Connemara man's very listenable music. Some songs are common enough (Neainsin Bhan), but he digs deeper into lore, like the political aisling Mailsin Chnoc An Easa Thoir. The love songs are often unhappy (the hurting nonsense of Doin Du, the bitter curses of Bruach Na Carra Leith), though there's more manly vim to the rowing rhythms of Sadhbh Ni Bhruinnealla, the jig-time gob-music of three lilting songs, or Raftery's ode to throwing the leg over Maire Ni Eidhin. The elaborate Seachran Cearbhall, with its spoken sections, is an early 17th-century song from Cearbhall O Dalaigh, in the tradition of medieval "crosain" or jesters. It tops a very nice little collection. Mic Moroney